An Introduction to America’s Music

534 PART 4 | SINCE WORLD WAR II

timing comments

0:00 Solo soprano sax sounds the six-note “call to worship” motive.

0:10 Piano responds with a bluesy gospel lick, with tambourine in the background.

0:16 The “congregation” responds, with the tenor sax “testifying.”

0:32 Piano chords resemble the sound of church bells.

0:44 Solo bowed bass sounds the “call”; the ensemble adds its “amen.”

1:13 Piano “bells.”

1:18 Music becomes more rhythmically active, as the drums start to keep time.

1:25 New repeated-note motive in soprano sax over gospel piano.

1:37 Solo bass and ensemble call and response.

1:48 Piano “bells.”

1:55 Instruments enter one by one, stacking up loud, dissonant chords, concluding with a

gospel-fl avored cadence.

2:15 Six-note “call” in trumpet, harmonized in block chords, with gospel piano response.

2:37 Repeated-note motive in soprano sax returns.

2:45 Faster version of the “call,” with gospel piano response.

2:55 Slower version of the “call,” in dissonant harmony.

3:16 Piano “bells” slowly fade.

performers: Wynton Marsalis Septet:

Wynton Marsalis, trumpet; Wycliffe Gordon,

trombone; Wessell Anderson and Todd

Williams, saxophones; Eric Reed, piano;

Reginald Veal, bass; Herlin Riley, drums

date: 1992

genre: jazz concert piece

meter: indefi nite, changing

form: through-composed

WHAT TO LISTEN FOR

• references to blues and gospel music


• use of dissonant harmonies and
  indefi nite, changing meters and tempos


• expanded role of rhythm section

CD 4.13 Listening Guide 22.1

“Devotional,” from In This House, on This Morning

WYNTON MARSALIS

172028_22_531-558_r3_sd.indd 534 23/01/13 11:20 AM